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This souvenir book showcases some of the most influential and important treasures of the National Museum of African American History and Culture's collections. These include a hymn book owned by Harriet Tubman; ankle shackles used to restrain enslaved people on ships during the Middle Passage; a dress that Rosa Parks was making shortly before she was arrested; a vintage, open-cockpit Tuskegee Airmen trainer plane; Muhammad Ali's headgear; an 1835 Bill of Sale enslaving a young girl named Polly; and Chuck Berry's Cadillac. These objects tell us the full story of African American history, of triumphs and tragedies and highs and lows. This book, like the museum it represents, uses artifacts of African American history and culture as a lens into what it means to be an American.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. For as long as people have traveled to distant lands, they have brought home objects to certify the journey. More than mere merchandise, these travel souvenirs take on a personal and cultural meaning that goes beyond the object itself. Drawing on several millennia of examples-from the relic-driven quests of early Christians, to the mass-produced tchotchkes that line the shelves of a Disney gift shop-travel writer Rolf Potts delves into a complicated history that explores issues of authenticity, cultural obligation, market forces, human suffering, and self-presentation. Souvenirs are shown for what they really are: not just objects, but personalized forms of folk storytelling that enable people to make sense of the world and their place in it.' Object Lessons is published in partnership with an essay series in The Atlantic. Souvenir features illustrations by Cedar Van Tassel
After finding a box containing letters her father had written to her mother during World War II, as well as a Japanese flag bearing a profound inscription, the author embarks on a mission to discover what happened to her father and the men of his Twenty-fifth Infantry, which takes her all the way to Japan to return the flag to its rightful owner, where she forms a bond with the surviving family and ultimately discovers a side of her father she never knew.
Reprint of the 1889 ed. published by F. A. Battey, Chicago.
Rising on the National Mall next to the Washington Monument, the National Museum of African American History and Culture is a tiered bronze beacon inviting everyone to learn about the richness and diversity of the African American experience and how it helped shape this nation. Begin with the Past: Building the National Museum of African American History and Culture is the story of how this unparalleled museum found its place in the nation’s collective memory and on its public commons. Begin with the Past presents the long history of efforts to build a permanent place to collect, study, and present African American history and culture. In 2003 the museum was officially established at long last, yet the work of the museum was only just beginning. The book traces the appointment of the director, the selection of the site, and the process of conceiving, designing, and constructing a public monument to the achievements and contributions of African Americans. The careful selection of architects, designers, and engineers culminated in a museum that embodies African American sensibilities about space, form, and material and incorporates rich cultural symbols into the design of the building and its surrounding landscape. The National Museum of African American History and Culture is a place for all Americans to understand our past and embrace our future, and this book is a testament to the inspiration and determination that went into creating this unique place.
Buried within the collection of the Smithsonian Institution's National Museum of American History exists an astonishing group of historical relics from the pre-Revolutionary War era to the present day, many of which have never been on display. Donated to the museum by generations of souvenir collectors, these ordinary objects of extraordinary circumstance all have amazing tales to tell about their roles in American history. Souvenir Nation presents fifty of the museum's most eccentric items. Objects include a chunk broken off Plymouth Rock; a lock of Andrew Jackson's hair; a dish towel used as the flag of truce to end the Civil War; the microphones used by FDR for his Fireside Chats; and the chairs that seated Nixon and Kennedy in their 1960 television debate.
Among His Troops: Washington's War Tent in a Newly Discovered Watercolor provides an eyewitness view of the Revolutionary War. A chance find of the only known wartime image of General George Washington's headquarters tent, the original of which is on display at the Museum of the American Revolution, inspired this exploration of the fortunes of the Continental Army between the last major victory at Yorktown in 1781 and the final peace in 1783. Washington's grand encampment on the Hudson River at Verplanck's Point, New York in 1782 showed the French that the United States was still a formidable ally against Great Britain.Based on the Museum's first special exhibition of the same name, Among His Troops brings together the newly discovered panoramic watercolor of the Verplanck's Point encampment and a watercolor of the Continental Army's fortress at West Point, both painted by French-born military officer and eyewitness Pierre Charles L'Enfant. These paintings, paired with original objects from the encampments, reveal the proud, yet precarious situation of Washington's army as the Revolutionary War neared its end.
Phyllis Rackin offers a fresh approach to Shakespeare's English history plays, rereading them in the context of a world where rapid cultural change transformed historical consciousness and gave the study of history a new urgency. Rackin situates Shakespeare's English chronicles among multiple discourses, particularly the controversies surrounding the functions of poetry, theater, and history. She focuses on areas of contention in Renaissance historiography that are also areas of concern in recent criticism-historical authority and causation, the problems of anachronism and nostalgia, and the historical construction of class and gender. She analyzes the ways in which the perfoace of history in Shakespeare's theater participated--and its representation in subsequent criticism still participates--in the contests between opposed theories of history and between the different ideological interests and historiographic practices they authorize. Celebrating the heroic struggles of the past and recording the patriarchal genealogies of kings and nobles, Tudor historians provided an implicit rationale for the hierarchical order of their own time; but the new public theater where socially heterogeneous audiences came together to watch common players enact the roles of their social superiors was widely perceived as subverting that order. Examining such sociohistorical factors as the roles of women and common men and the conditions of theatrical performance, Rackin explores what happened when elite historical discourse was trans porteto the public commercial theater. She argues that Shakespeare's chronicles transformed univocal historical writing into polyphonic theatrical scripts that expressed the contradictions of Elizabethan culture.
Excerpt from Souvenir History, 1898 WE were appointed by you to prepare and publish a historical sketch of the Club. It was happily decided later to embellish the work with portraits and residences. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.